The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
My interest waxed and waned. The set up for the film seemed to take eons. Frank overstuffed the script with exposition, multiple subplots and some seemingly unnecessary sequences. Just as I was ready to dismiss the movie, he switched gears.
One senses the screenplay was repeatedly worked over in a seminar or honed using a software program. With stock characters, salty language, caper tension and heartfelt drama, it's calculated to please.
Instead of a funny heist flick or a comedy with thrills, [writer Scott Frank] sketches out a gentle sine wave of a movie. It oscillates from not very funny to not very thrilling without ever being in a hurry to get where it's going.
Throwing a mentally impaired dude into a heist drama doesn't really add much. There are times when the audience will forget that Chris is disabled, partially because Gordon-Levitt isn't very persuasive.
The Lookout is without the noose-tightening suspense or moral complexities of similarly themed thrillers. And the rare bits of business or color are too familiar and derivative to be diverting, and point to a conclusion that is ultimately the same.
Tends to bubble along as a plot-boiler. Chris' guilty fantasy about the past girlfriend, just as he works up nerve for some major action, is the kind of twist that one studies screenwriting to learn and then surpass.